The day women rule
February 24, 2006 | 12:00am
History has unfolded through the lens of some of the greatest Filipinos before our time. There is our national hero Jose Rizal who, along with the Ilustrado Movement, sought to peacefully dialogue Las Islas Filipinas with Mother Spain. There are Andres Bonifacio, Emilio Aguinaldo, and the Revolutionary Movements of the KKK which bloodied their hands to free us from Hispanic rule. There is Gregorio del Pilar and his courageous defense of Tirad Pass during the Filipino-American War. There is Ninoy Aquino who said that the "Filipino is worth dying for." And, while there are many other heroic men who have etched their mark in the annals of our history books for their courageous feats and divine acts of bravery, there is of course, the anonymous Juan de la Cruz who, "cannon to the left of him, cannon to the right of him," fought long and hard for our freedom.
Throughout history, society has esteemed such men to unattainable heights – some of them tapered on the back of monetary bills and others portrayed in the bylines of literary works of art. But as we all know, behind every strong, egocentric, testosterone-packed man is a woman. Behind Samson was Delilah. Behind Marcos was Imelda. Behind Bill is Hillary. Behind Ralph is Ate Vi. And oh-so-many years ago, in a time of bloodshed and revolution, there was Gabriela.
Leave it to Dulaang UP to dramatize the strength and courage of the Filipino woman throughout her formative years in a male-dominated society. Now in its 30th theater season of showcasing both homegrown plays and foreign works in English and our local vernacular, the official performing group of the University of the Philippines for theater has portrayed this notion of "girl power" through the eyes of Gabriela Silang, a revolutionary subversive who had continued the plight of her husband Diego Silang after he was killed by the Spaniards. While she is vastly perceived as the first Filipina to lead a revolt during the Spanish time, the musical looks into the other facets of Gabriela – one who was hesitant to join her husband’s cause out of fear and apprehension, one who was the rock-steady companion of Diego through thick and thin, and one who was said to be the true brains behind the revolution.
Utilizing the style of an oratorio, a theatrical form that homogenizes song and dance with episodes in the life of our heroine, Gabriela manages to portray the struggle of women for emancipation from physical, social, and emotional constraints that have been placed upon them by society. The life and times of Gabriela, juxtaposed with the life and times of Gabby, a social activist and querida who is not necessarily perfect and encompassing of all women yet continues to fight for her cause, emphasizes on bridging the past with the present – a task done in two acts where the first centers on the revolutionary conflict of colonial times and the second on the social cancer that plagues us to this day. While past and present serve as the illustrative comparison of two different contexts, the parallelism is done in orderly fashion to bridge the conflicting, emergent notions of the Filipina, and consanguineously ascertain a better future for a country turned sour by manifest socio-political stratification on the part of women. In this sense, the plight of the woman is portrayed as symbolic of our nation’s coming to terms with who she was back then and what she became.
As all oratorios, Gabriela is kept simple and minimalist. The intimate setting of the Guerrero Theater is manageable enough to administer the unique elements that have been incorporated into the musical. On both sides of the stage are bleachers, occupied at all times by the UP Vocal Ensemble and the DUP Choric Ensemble, who collectively portray whimsical narrators, social commentators, chorus, and at times actors in the play. While Gabriela may have had serious themes and significant historical content, the schizophrenic alternation between comedy, commentary, and narration of both ensembles broke expected silences and formulaic tendencies of such historically-oriented musicals. These were duly executed much to the audience’s bewilderment but surefire delight.
Both groups are exceptionally joined by the UP Filipiniana Dance Group whose skill and prowess served Van Manalo’s intricate choreography thoughtfully well. The technical side was also successful in generating a visual concoction of lights, sets, and special effects for a most enchanting experience for audiences young and old. I liked the descending stars which made Diego and Gabriela’s romantic serenade extra cheesy yet magical. Audio-visual feats are occasionally flashed on a screen situated near center-stage, separating eventually to unravel even more elements for the play’s overall aesthetic value. And in tradition of "saving the best for last," my favorite part has got to be Eksena X – which I leave up to the readers to come and see. To illustrate quite ambiguously, the scene was able to shatter and challenge the notions of who Gabriela is today in a rather comical yet probing manner.
Tony Mabesa, founding artistic director of Dulaang UP, stirs the ship as director of Gabriela: An Oratorio. He is joined by long-time friend Joi Barrios, who he first worked with many years ago in Saling Pusa. A renowned playwright and one of the bravest voices in Philippine theater today, Barrios writes the quintessential backbone to helm the literary aspect of Gabriela. Along with Joy Marfil as lyricist and composer, and Raul Navarro as musical director, theater veterans Lanie Sumalinog (Miss Saigon), Stella Canete (West Side Story), and Miguel Castro (St. Louis Loves Dem Filipinos The Musical) likewise lend their judicious talents to play the lead roles of Gabriela/Gabby, Mrs. Delia De La Cruz, and Diego/D.G. respectively.
I’ve seen a total of four UP plays in my lifetime – the first being Tatarin which, hands down, was one of the best plays I have ever seen in my entire life; the second is Miguel Hernandez Project, which required a little bit more understanding from people my age but was just as probing as the first; the third being Lysistrata, Aristophanes’ anti-war comedy where starred my mentor and friend Missy Maramara; and fourth being Gabriela. Seeing the most recent production and once again being blown away for sheer artistry and ingenuity, sometimes I wonder why I don’t watch UP plays as often as I should. They are always refreshingly compelling, unconventional, and breathtaking every step of the way. In the musical’s case, it leaves the spectator pondering just a little bit more on who exactly is Gabriela today.
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